It is noteworthy that Romberg advocated a simplified notation for violoncello music. Primarily (besides the bass clef), in Italy and Germany, only the tenor clef was used, and the alto clef in France. But as the compass of violoncello playing was more and more extended up to the high parts of the scale, by the use of the thumb positions, keys used for the discant and violin were added. Boccherini, for the notation of many of his compositions, made use altogether of five clefs, sometimes indeed in one and the same piece--as, for example, at the opening _Allegro_ of his Concerto (C major). There was nothing arbitrary in this procedure. Boccherini had far more in view the object of giving to the player starting-points for the finger positions to be used in each case. In his later compositions, however, he abandoned this, as the use of so many different clefs had its inconveniences; and he restricted himself to the use of the bass, tenor, and violin clef. This notation was subsequently generally accepted, particularly also by Romberg, and is still in use up to the present time. In opposition to the earlier favourite manner of writing the notes--by the use of the violin clef an octave too high for the violoncello, as is the case in Mozart’s and Beethoven’s compositions--Boccherini, by the application of the clefs mentioned, wrote everything as it would sound. By this means he gained the advantage that he was not obliged to make so much use of ledger lines in the writing of his passages--which were continually moving in the soprano part--as he must have done if he had followed the custom of his contemporaries and had adhered to the higher system of notation. It is readily understood why Romberg in his cello school should declare himself in favour of the change introduced by Boccherini, for he also, with special predilection, made use of the higher regions of the fingerboard for his playing; wherefore it was said of him that his handling of the violoncello was often after the manner of the violin. From this point of view it is thoroughly rational that Romberg, in regard to notation, should follow the example given by Boccherini. In later times the too frequent and continuous use of the soprano clef--in which a broad, energetic volume of tone, full of expression, is nearly excluded--has been abandoned without, however, being neglected entirely; while to the most beautiful and effective clef--namely, the tenor--has been accorded its right place.